Rachmaninoff, a renowned 20th-century classical composer, has left a lasting impact on popular culture, particularly through his music featured in various films. One example is the emotionally powerful love affair portrayed in David Lean’s Brief Encounter (1945), which was heightened by the lush melodies of Rachmaninoff’s Piano Concerto No. 2 playing in the background.
Another film that showcases Rachmaninoff’s influence is the classic comedy Groundhog Day, where the protagonist, Phil Connors (played by Bill Murray), embarks on a journey of self-improvement. As part of this transformation, he takes up playing the piano and surprises his love interest by performing Variation 18 from Rachmaninoff’s Rhapsody on a Theme of Paganini. Rachmaninoff’s music proves instrumental in Phil’s personal growth.
Paganini’s Caprice No. 24 in A minor has been the subject of many variations by different composers throughout history. However, it is Rachmaninoff’s variations that have gained the most recognition. His adaptation on the piano has become one of his most enduring and beloved compositions.
During Rachmaninoff’s time, his music was banned in Russia due to his exile and perceived deviation from the ideas of Soviet art. His romantic style didn’t align with the preferred emphasis on social consciousness and supposed working-class values.
In a letter to his friend Vladimir Vilshau in Moscow, Rachmaninoff mentioned completing a remarkably long composition, lasting about twenty to twenty-five minutes, which was the size of a piano concerto. He expressed his intention to debut it in New York and London.
The Rhapsody on a Theme of Paganini places considerable technical demands on the solo performer, thoroughly testing the capabilities of the piano. Rachmaninoff himself acknowledged its difficulty, stating, “Often it is too difficult for me to play. I have become old.” However, despite its complexity, he performed it numerous times.
In his later years, Rachmaninoff composed very little and primarily made a living through his performances. Consequently, his hectic concert schedule often took a toll on his aging fingers. As the premiere of the Rhapsody approached, he confided in Vilshau about his concerns, asking, “Will I survive?”
The composition follows a classical structure, with the 24 variations divided into three sets of eight. While each variation retains a connection to the original theme, they can also stand alone as individual pieces. Notably, the 18th variation has become particularly well-known and frequently performed as a separate piece.
Why did Rachmaninoff choose to incorporate this specific theme? Legend has it that Niccolò Paganini, the famous violinist, sold his soul to the devil in pursuit of artistic greatness and the love of a woman. Rachmaninoff included this theme in his variations, influenced by the Faustian undertones inherent in Paganini’s popular image.
After three years of composing the Rhapsody, Rachmaninoff expressed interest in utilizing it for a stage work about Paganini to ballet choreographer Mikhail Fokine. In a letter outlining his dramatic ideas, Rachmaninoff proposed using the Dies Irae theme to represent an evil spirit, introduced in the seventh variation and further developed in subsequent variations. Variations 11 to 19 would then depict the evolving love story between Paganini and the woman he wins over. In the final variations, personages representing the evil spirit would return, caricaturing Paganini and engaging in a struggle for his soul. Rachmaninoff concluded his proposition by anxiously asking Fokine, “You are not going to laugh at me, are you?”
In performances, Rachmaninoff often conveyed a somber demeanor, which many attributed to his yearning for his homeland. Two Russian audience members, Ilya Ilif and Eugene Petrov, once described him on stage at New York’s Carnegie Hall as tall, hunched, and thin, with a long, sorrowful face, suggesting that his expression seemed to convey the message, “Yes, I am an unfortunate exile and am obliged to play before you.”